Eskapade

Designed by Alisa Nowak 

 Eskapade creates new common ground between two unrelated families: an experimental Fraktur and a nimble oldstyle serif. The serif styles have a contemporary ease, with a light typographic colour and smooth design. Eskapade Fraktur captures the reader’s attention especially with the second set of double-stroked decorative capitals that encourage experimental use and creative application.

  • Typographica’s Best Typefaces of 2012
  • Bronze, 2013 European Design Awards
  • 2013 Communication Arts Typography Annual
Includes 6 fonts USD 182,55

No Invisible Jet for Wonder Woman.

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DC Entertainment president Diane Nelson has told People about what fans can expect from the Gal Gadot-led film.

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“It will have its own tone and look – it’s beautiful. There is humor in it, there is real emotion in Diana’s journey in discovering the complexity of man,” Nelson says, adding, “There is no invisible jet. Not in this iteration.”

While the invisible jet — which dates back to the earliest William Moulton Marston issues of the comics — may not be appearing (or is that “not appearing”?) in the movie, the article notes that fans will be able to scope out costumes from the Wonder Woman film and attend a 75th anniversary panel talk at this July’s San Diego Comic-Con. Following the Wonder Woman movie, Gadot’s next film as Diana Prince will be Justice League, which is already well into production.

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Wonder Woman also stars Chris Pine (Star Trek), Robin Wright (The Girl with the Dragon Tattoo, Netflix’s “House of Cards”), Danny Huston (Clash of the Titans, X-Men Origins: Wolverine), David Thewlis (the “Harry Potter” films, The Theory of Everything), Ewen Bremner (Exodus: Gods and Kings, Snowpiercer), Saïd Taghmaoui (American Hustle), Elena Anaya (The Skin I Live In), Connie Nielsen (Gladiator, Nymphomaniac: Vol. I) and Lucy Davis (Shaun of the Dead).

Directed by Patty Jenkins, the film is being produced by Charles Roven, Zack Snyder and Deborah Snyder, with Richard Suckle, Stephen Jones, Wesley Coller, Geoff Johns and Rebecca Roven serving as executive producers.

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The Backstory

Eskapade

Creating new common ground between a nimble oldstyle serif and an experimental Fraktur.

The Eskapade family is the result of Alisa Nowak’s research into Roman and German blackletter forms, mainly Fraktur letters. The idea was to adapt these broken forms into a contemporary family instead of creating a faithful revival of a historical typeface. On one hand, the two normal Eskapade styles are conceived for continuous text in books and magazines with good legibility in smaller sizes. On the other hand, the two angled Eskapade Fraktur styles capture the reader’s attention in headlines with its mixture of round and straight forms as seen in ‘e’, ‘g’, and ‘o’. It can also be used for visual identities, logotypes, and packaging.

 
Eskapade roman adopts a humanist structure, but is more condensed than other oldstyle serifs. The reason behind this stems from the goal of closely resembling the Fraktur style to create harmony in mixed text settings. Legibility is enhanced by its low contrast between thick and thin strokes and its tall x-height. Eskapade offers an airy and light typographic colour with its smooth design. Eskapade italic is based on the Cancellaresca script and shows some particularities in its condensed and round forms. This structure also provided the base for Eskapade Fraktur italic. 
 
Eskapade Fraktur is more contrasted and slightly bolder than the usual darkness of a regular weight. The innovative Eskapade Fraktur italic, equally based on the Cancellaresca script previously mentioned, is secondarily influenced by the Sütterlin forms — an unique script practiced in Germany in the vanishingly short period between 1915 and 1941 — especially as seen in the capital letters.
 
Although there are many Fraktur-style typefaces available today, only a few include true italic forms, and usually they are slanted uprights rather than proper italics. This motivated extensive experimentation with the italic Fraktur shapes and resulted in some unusual and interesting solutions. In addition to standard capitals, Eskapade Fraktur offers a second set of more decorative capitals with double-stroke lines to encourage experimental use and intensify creative application.
 
The Black and Black Italic styles are meant for display sizes (headlines, posters, branding, and signage). A typeface with this much tension needs to keep a good harmony between strokes and counters, so Eskapade Black has amplified inktraps and a more dynamic structure seen in the contrast between straight and round forms. These qualities make the family bolder and more enticing, especially with the included uppercase alternates. The black weights of Eskapade are strident, refusing to let the white of the paper win in its tug-of-war. It also won’t give away its secrets: is it modern or historic, edgy or amicable, beguiling ornamentation or brutish presentation? That all depends on how it’s used, but it certainly isn’t tame.
 
The complete Eskapade family comes in four styles, speaks multiple languages, and, along with our entire catalogue, has been optimised for today’s varied screen uses.